New Paradigms in Publishing – Why Literature Must be Free
The age-old vision of the artist or writer toiling away at his craft, alone and hungry and living in compromised conditions, is certainly an enduring one, and it is also one that most artists and writers readily reject if given the opportunity. Unfortunately, most developing artists must endure at least a period of abject poverty as they hone their craft and struggle for recognition. The public, rather than support society’s creative brain trust, customarily engages in mocking those who have not yet achieved notoriety, while often lavishing ridiculous rewards on those who are fortunate enough to be underwritten by large publishing and promotion interests. The late (and beloved) writer Kurt Vonnegut often reiterated the sentiment that he considered himself incredibly lucky, because he personally knew at least a dozen writers who were every bit as talented, or perhaps more so, than he was and had achieved no recognition whatsoever (not to mention no financial rewards).
Without a doubt, a certain amount of luck is involved when a writer signs a contract with a major publisher. Many aspire to such recognition (worthy or not), because what artist does not wish his work to be exhibited to a large audience? In this age of high budget promotion, mass media, and instant gratification, it is easy to forget that such works as Lady Chatterley’s Lover by D. H. Lawrence and Sense and Sensibility by Jane Austen were originally private publications for the benefit of the authors and their friends and families. In fact, the list of self-published titles, and writers who acted as their own publisher, is quite longer than one might expect:
